“Yureru proves to be a very intimate emotive meditation on the mendacity of identity and the subjectivity in experiencing reality. It is a sublime meditation we recommend to everyone.”
In 2006 Miwa Nishikawa released her second feature film Yureru The long excuse (200. As her first feature film, Wild Berries (2003), for which Kore-eda was the producer, garnished many awards, like the Best New Director award at the 2004 Yokohama Film Festival and the 13th Japanese Professional Movie Awards, expectations were very high. With Yureru (2006), which won 4 awards at the Yokohama Film Festival, and Dear Doctor (2009), Nishikawa confirmed her status as a big talent in the industry.
“The poetry of Yamato has one heart as seed and myriad words as leaves. This
kokoro is the one that knows mono no aware.” (In preface of Kokinshū, see note 1).
An Introduction for springtime.
The Sakura trees are blossoming, the casket of nihonshu has been broken, the time to enjoy Ohanami with friends, lovers, and/or family has come. As I enjoyed this year’s Ohanami, I was surprised when I started to reminiscence a scene of a cinematographical narrative I have reviewed some months ago.
The movie in question was Umimachi diary and the scene, as shown above as banner, was the springtime bicycle scene. Apart from the apparent connection of springtime, one might wonder why I want to revisit this narrative. The main reason is to elucidate the signifier “mono no aware” I introduced in the conclusion and to “reinterpret” some of my writings on this fantastic movie.
“A tender nostalgic narrative about the nature of sisterly relations and the beauty of transiency”.